Systems and methods for automatic mixing of media

ABSTRACT

Audio mix information is received from a plurality of users. Mix rules are determined from the audio mix information from the plurality of users, wherein the mix rules include a first mix rule associated with a first audio item. The first mix rule relates to an overlap of the first audio item with another audio item. The first mix rule is made available to one or more clients. After making the first mix rule available, an indication, from a respective client device, that the first audio item is to be mixed with a second audio item at the respective client device in accordance with the first mix rule is received. In response to the indication, a specification of the first mix rule is transmitted to the respective client device to be applied by the respective client device to generate a transition between the first audio item and the second item.

RELATED APPLICATIONS

This application is a continuation of U.S. Non-Provisional applicationSer. No. 14/289,438, filed May 28, 2014, entitled “Systems and Methodsfor Automatic Mixing of Media,” which claims priority to U.S.Provisional Patent Application No. 61/829,195, entitled “Systems andMethods for Automatic Mixing of Media,” filed May 30, 2013. Both ofthese applications are incorporated by reference herein in theirentirety.

TECHNICAL FIELD

The disclosed implementations relate generally to mixing of media, andmore specifically, to methods for automatic mixing of music usingcrowd-sourced information.

BACKGROUND

Modern media content providers offer streaming content, such as music,from large catalogs. Content providers generate revenue from payingusers and advertisements, and pay the artists and other rights holdersfor the right to distribute their content.

Interaction with the music that users consume through such services istypically limited to creating, editing, and storing playlists. The songsin these playlists are usually played sequentially, with no blending ofthe songs or other effects (e.g., user-applied overdubs, overlays ofmultiple songs, transition effects, etc.).

In particular, media mixing techniques, such as blending tracks from onesong to another in a playlist (e.g., crossfading), or creating remixesor other derivative works (e.g., by adding effects to songs or combiningparts of different songs to create a “remix” or a “mashup”) arecurrently not available in streaming services. Thus, users who wish touse these techniques are forced to find alternatives to the streamingservices, thus depriving the artists and other rights holders fromcompensation and lowering the membership of the streaming service.

Accordingly, it would be useful to improve media streaming services withtechnology to assist consumers in mixing and adding effects to mediacontent, while at the same time compensating the artists and rightsholders.

SUMMARY

The present application describes systems and methods for modifying,mixing, and/or remixing music within the context of a media streamingservice. (While the term “streaming service” is used herein, provisionof media content by the service need not conform to any particular datatransfer technique or protocol unless otherwise stated.) For example,users can select predefined “mix rules” to be applied during atransition between two songs in a playlist. Mix rules define or controlone or more aspects of the playback of the songs to which they areapplied, including, but not limited to, sound effects, tempo, pitch,volume, and fade-in and fade-out times.

Mix rules relate to various ways of modifying and/or manipulatingplayback of content items. For example, some mix rules specify how atransition between two content items (e.g., a crossfade) will sound.This includes, for example, crossfade duration, sound effects to beapplied during the transition (e.g., flanger, reverb, etc.), playbackparameter adjustments to be applied during the transition (e.g., pitchmatching, tempo matching, etc.), and the like. Other mix rules are usedto create “mashups” or “remixes” of one or more content items. Thisincludes, for example, “sampling” parts of content items to overlay on abase content item, combining two or more content items (or portionsthereof), adding sound effects or other musical content (e.g., basslines, drum beats, instrumental/vocal sounds, etc.) to a base contentitem, and the like. Mix rules can be applied to individual tracks,transitions between tracks, an entire playlist, portions of a playlist,etc. Also, different mix rules can be applied to different tracks (ortransitions therebetween) in a playlist. For example, a crossfade effectmay be specified for the transitions between some songs, but not others.

Mix rules specify values for many different playback parameters, asdescribed herein, and need not relate specifically to a mix of multiplecontent items. For example, a mix rule can specify that a reverb effectshould be applied to the last n seconds of a single song. Moreover, mixrules can specify values for a single parameter (e.g., a crossfadeduration), or multiple parameters (e.g., a crossfade duration andmultiple effects to be applied during the crossfade duration).Predefined sets of one or more mix rules are sometimes referred toherein as “mix styles.”

In some implementations, mix rules are generated manually. Mix rules maybe created manually, for example, by a human operator of the streamingmedia service hand-picking values for playback parameters and/oreffects, overlays, and the like. Such mix rules are then made availableto users of the media streaming service, and, when selected, cause mediacontent to be played back in accordance with the mix rule. Mix rules mayalso be created manually by users of the system. For example, a playlisteditor (e.g., an interface or application through which a user interactswith the media content) includes controls for selecting effects andvalues of playback parameters to be applied during a song transition (orduring playback of a single song).

Mix rules can also be “crowdsourced.” Crowdsourcing mix rules refers toderiving mix rules based on mix information generated by users of themedia streaming service. Mix rules and mix information are the same typeof information (e.g., parameters and values of parameters for modifyingand/or manipulating playback of content items). As used herein, “mixinformation” is used to refer to user-generated mix rules (e.g.,parameters and values specifying the user-generated mix rules) that arereceived or accessed by the media streaming service, and from which “mixrules” can be crowdsourced.

Substantial information about mixing preferences can be obtained fromcrowdsourced mix information. For example, as discussed herein, songfade-in and fade-out locations, sound effects and their settings,settings for playback parameters, etc., can all be generalized from mixinformation from a group of users. For example, the streaming servicecan determine, through crowdsourcing, that a large number of peopleselect a particular fade-out location in a particular song. As anotherexample, the content provider can determine that a large number ofpeople apply a “flanger” effect to songs associated with a “techno”genre. As yet another example, the content provider can determine thatmany users apply a reverb effect to the transition between twoparticular songs, such as Led Zeppelin's “What Is and What Should NeverBe” and “The Lemon Song.”

Crowdsourced mix information is used in various ways. For example, insome implementations, it is used as the basis for a content provider tocreate predefined mix rules or mix styles. In particular, the streamingmedia service can determine (e.g., using automatic data extractionand/or analysis techniques) that most transitions between “classic rock”songs use a reverb effect and a 5 second fade-in/fade-out duration, andthus create a predefined “classic rock transition” mix style.Crowdsourced mix information can also be used to create customizedreal-time mixes and/or song transitions. For example, a playlist editorcan provide an option for “auto-mix,” which will pick one or more mixrules to apply to a transition between two selected songs based oncrowdsourced information about one or both of the selected songs. Asanother example, an “auto-mashup” style identifies a second song tooverlay with a selected song based on crowdsourced information about theselected song (e.g., based on a determination that many users of theservice have previously overlayed the second song over the selectedsong).

Streaming services often store media content on servers remote from theclient devices. Accordingly, mix rules may be stored in (or inassociation with) a playlist database associated with the streamingservice. The mix rules may alternatively or additionally be stored onclient devices. More specifically, users will often apply mix rules tocontent items in a playlist. The mix rules are then stored inassociation with those playlists (either on the client devices or on oneor more remote computer systems) so that the user can access theplaylist and the mix information at a later time (and possibly from adifferent computer or device).

Mix rules and/or mix information is, in some implementations, stored asmetadata associated with the content items to which they apply. Forexample, in some implementations, it is embedded in, attached to, orotherwise associated with the file of the content item (e.g., in an ID3container of an MP3 file). In some other implementations, it is storedin a separate metadata repository (e.g., a metadata database) inassociation with the content item and/or an identifier of the contentitem.

In some implementations, where a mix rule or mix information relates totwo (or more) content items (e.g., as would be the case with a crossfadeeffect between two specific songs), it can be stored in a database andis associated with the content items and/or identifiers of the contentitems.

Some artists and/or content owners may not allow users of a streamingservice to modify their tracks with certain effects, apply certainmixing or remixing techniques, or the like. For example, some artistmight only allow crossfades of their songs, while others might allowusers unrestricted permission to mix, remix, or otherwise modify theirmusic. Such preferences may be included in the license agreement betweenthe artist/content owner and the streaming service. Accordingly, in someimplementations, such restrictions and/or limitations are stored by thestreaming service (e.g., in a license information database, or inassociation with particular content items, such as in a metadatadatabase or repository).

Exemplary Implementations

A method is provided for mixing music. The method is performed at anelectronic device having one or more processors and memory storing oneor more programs for execution by the one or more processors. The methodincludes receiving audio mix information from a plurality of users;determining mix rules from the audio mix information from the pluralityof users, wherein the mix rules include a first mix rule associated witha first audio item, the first mix rule relating to an overlap of thefirst audio item with another audio item; and making the first mix ruleavailable to one or more clients.

In some implementations, the audio mix information includesuser-selected values of a set of one or more playback parameters used togenerate transitions between overlapping audio items.

In some implementations, the first mix rule includes an overlap startingposition of the first audio item, indicating a playback time at which tobegin overlapping the first audio item with a following audio item. Insome implementations, the overlap starting position of the first audioitem is a median of user-selected values, from the audio mixinformation, of the overlap starting position. In other implementations,the overlap starting position of the first audio item is a mean ofuser-selected values, from the audio mix information, of the overlapstarting position.

In some implementations, the first mix rule also includes an overlapending position of the first audio item, indicating a playback time atwhich to end overlapping the first audio item with a preceding audioitem.

In some implementations, the first mix rule specifies an effect to beapplied to one or both of the first audio item and the another audioitem during the overlap of the first audio item and the another audioitem.

In some implementations, the first mix rule specifies predefined valuesof the set of one or more playback parameters for generating atransition between the first audio item and a second audio item that isadjacent to the first audio item in a playlist, wherein the transitionincludes overlapping at least a part of the first audio item and thesecond audio item.

In some implementations, the method further includes receiving, from afirst client of the one or more clients, information indicating that thefirst audio item is to be mixed with a second audio item in accordancewith the first mix rule; and making the first mix rule available to theone or more clients includes transmitting, to the first client,information enabling the first client to playback a transition betweenthe first audio item and the second audio item in accordance with thefirst mix rule. In some implementations, the second audio item isadjacent to the first audio item in a playlist associated with a user ofthe first client. In some implementations, the first audio item precedesthe second audio item in the playlist. In other implementations, thesecond audio item precedes the first audio item in the playlist. In someimplementations, the information indicating that the first audio item isto be mixed with the second audio item in accordance with the first mixrule specifies that an ending of the first audio item is to be mixedwith a beginning of the second audio item.

In some implementations, the first mix rule relates to an overlap of anending of the first audio item with a beginning of a next audio item;and the mix rules include a second mix rule relating to an overlap of abeginning of the first audio item with an ending of a preceding audioitem. In some implementations, the method includes receiving, from thefirst client, information indicating that the first audio item is to bemixed with a third audio item in accordance with the second mix rule,wherein the third audio item precedes the first audio item in a playlistassociated with the first client; and making the second mix ruleavailable to the one or more clients, including transmitting, to thefirst client, information enabling the first client to playback atransition between the third audio item and the first audio item inaccordance with the second mix rule.

In some implementations, the method further includes receiving, from asecond client of the one or more clients, information indicating thatthe first audio item is to be mixed with a second audio item inaccordance with the first mix rule; and making the first mix ruleavailable to the one or more clients includes transmitting, to thesecond client, information enabling the second client to playback atransition between the first audio item and the second audio item inaccordance with the first mix rule.

In some implementations, the mix rules include a second mix ruleassociated with a pair of audio items, the second mix rule relating toan overlap of the pair of audio items, and the method further includesreceiving, from a third client of the one or more clients, informationindicating that the pair of audio items are to be mixed in accordancewith the second mix rule; and making the second mix rule available tothe one or more clients, including transmitting, to the third client,information enabling the third client to playback a transition betweenthe pair of audio items in accordance with the second mix rule.

In some implementations, the method further includes receiving, from afirst client of the one or more clients, information indicating that thefirst audio item is to be mixed with a second audio item in accordancewith the first mix rule; and making the first mix rule available to theone or more clients includes transmitting, to the first client, an audiostream including the first audio item mixed with the second audio itemin accordance with the first mix rule.

In some implementations, the method further includes organizing the mixrules into one or more mix styles. In some implementations, respectiveones of the mix styles include a plurality of the mix rules.

In accordance with some implementations, a computer system (e.g., aclient system or server system) includes one or more processors, memory,and one or more programs; the one or more programs are stored in thememory and configured to be executed by the one or more processors andthe one or more programs include instructions for performing theoperations of the method described above. In accordance with someimplementations, a non-transitory computer readable storage medium hasstored therein instructions which when executed by one or moreprocessors, cause a computer system (e.g., a client system or serversystem) to perform the operations of the methods described above.

BRIEF DESCRIPTION OF THE DRAWINGS

The implementations disclosed herein are illustrated by way of example,and not by way of limitation, in the figures of the accompanyingdrawings. Like reference numerals refer to corresponding partsthroughout the drawings.

FIG. 1A is a block diagram illustrating a client-server environment inaccordance with some implementations.

FIG. 1B is a block diagram illustrating a media delivery system inaccordance with some implementations.

FIG. 2 is a block diagram illustrating a client device, in accordancewith some implementations.

FIG. 3 is a block diagram illustrating a server system, in accordancewith some implementations.

FIGS. 4A-4E are illustrations of exemplary user interfaces for mixingmedia content items, in accordance with some implementations.

FIGS. 5A-5B are illustrations of exemplary tables storing mix rulesand/or mix information, in accordance with some implementations.

FIG. 6 is an illustration of an exemplary table storing mix rules, inaccordance with some implementations.

FIG. 7 is a flowchart of a method for mixing music, in accordance withsome implementations.

DETAILED DESCRIPTION

FIG. 1A is a block diagram of a client-server environment 100 inaccordance with some implementations. The client-server environment 100includes one or more client devices (110-1, . . . , 110-n) and one ormore server systems (120-1, . . . , 120-n) that are connected throughone or more networks 115. The client-server environment 100 also,optionally, includes a peer-to-peer (P2P) network 132 where clientsshare files with each other, one or more content delivery network (CDN)servers 134, a network cache 136, and one or more redundant content hostservers 138 (e.g., media servers) connected to the one or more networks115.

The client device 110-1 is a representative electronic device associatedwith a respective user. The server system 120-1 is a representativeserver associated with a media content provider with which users (andtheir electronic devices), optionally, have accounts that enable theusers to access media content from one of server systems 120. The one ormore networks 115 can be any network (or combination of networks) suchas the Internet, other Wide Area Networks, Local Area Networks, PersonalArea Networks, metropolitan area networks, VPNs, local peer-to-peer,ad-hoc connections, and so on.

In some implementations, the client device 110-1 is one of the group of:a personal computer, a mobile electronic device, a wearable computingdevice, a laptop, a tablet computer, a mobile phone, a digital mediaplayer, or any other electronic device able to prepare media content forpresentation, control presentation of media content, and/or presentmedia content. The client device 110-1 communicates with and receivescontent from content sources such as the server system 120-1, P2Pnetwork 132, CDN server(s) 134, network cache 135, and/or redundantcontent host server(s) 138.

In some implementations, the client device 110-1 includes a mediacontent presentation and control application 104 (hereinafter “mediaapplication”) that controls the presentation of media by the clientdevice 110-1. For example, the media application 104 enables a user tonavigate media content items, select media content items for playback,select media streams for playback, change currently displayed mediastreams, create and edit playlists, create mixes or remixes (orotherwise select effects to be added to) media content, and other suchoperations.

In some implementations, media content to be played back by a clientdevice (e.g., client device 110-1) is stored by the client device (e.g.,in a media content buffer 105 or a local cache).

In some implementations, media content to be played back by a clientdevice is stored by a server system 120-1 (e.g., an origin server),which is located remotely from the client device 110-1.

In some implementations, media content to be played back by a clientdevice is stored by one or more computing devices in a media deliverysystem 150, discussed in more detail with reference of FIG. 1B.

Data sent from the server system 120-1 (and/or one or more of thecomputing devices in a media delivery system 150) to the client device110-1 can be stored/cached by the client device 110-1 in one or moremedia content buffers 105 (or a local cache) in the memory of the clientdevice 110-1.

In some implementations, media content stored in the media contentbuffer(s) 105 is removed after the media content is presented by theclient device 110-1, allowing new media content data to be stored in themedia content buffer 105.

In some implementations, at least some of the media content stored inthe media content buffer(s) 105 is retained for a predetermined amountof time after the content is presented by the client device 110-1 and/oruntil other predetermined conditions are satisfied.

The media content buffer 105 can also store media content from more thanone media content stream. Storing data in a buffer while it is beingmoved from one place to another (e.g., temporarily storing compresseddata received from a content source before it is processed by a codecand/or temporarily storing decompressed data generated by a codec beforeit is rendered by a renderer) is sometimes referred to as “buffering”data, and data stored in this way is sometimes referred to a “buffered”data. “Buffered” data is typically, but optionally, removed (or markedfor deletion) from the buffer in which it was stored after it istransmitted from the buffer to its destination (e.g., a codec or arenderer), rather than being stored for later use.

In some implementations, when a user wants to playback media on theclient device 110-1, the user interacts with the media application 104to send a media control request to the server system 120-1. The serversystem 120-1 receives the media control request over the one or morenetworks 115. For example, the user is enabled to press a button on atouch screen of the client device 110-1 in order to send the mediacontrol request to the server system 120-1. As described below, a mediacontrol request is, for example, a request to begin presentation ofmedia content by the client device 110-1. Though often used herein todescribe requests to initiate or begin presentation of media by theclient device 110-1, in some implementations, media control requestsalso include requests and/or signals to control other aspects of themedia that is being presented on client device 110-1, including but notlimited to commands to pause, skip, fast-forward, rewind, seek, adjustvolume, change the order of items in a playlist, add or remove itemsfrom a playlist, adjust audio equalizer settings, change or set usersettings or preferences, provide information about the currentlypresented content, begin presentation of a media stream, transition froma current media stream to another media stream, and the like.

The client-server environment 100 also includes a representative serversystem 120-1. In some implementations, the server system 120-1 includesan interface module 122, a mix rule module 121, a media content database124, a playlist database 126, a mix rule database 128, and a licenseinformation database 130.

The interface module 122 enables the server system 120-1 to communicatewith (e.g., send information to and/or receive information from) one ormore of the client device 110-1, CDN server(s) 134, the network cache136, redundant content host server(s) 138, and clients in a P2P Network132. In some implementations, the interface module 122 receives mediacontrol request(s) from respective client devices (e.g., the clientdevice 110-1). In response to receiving the media control request(s),the interface module 122 sends (e.g., streams) media content to therespective requesting client device.

In some implementations, the interface module 122 receives otherinformation from client devices (e.g., the client device 110-1), such asmix information, playlists (e.g., containing multiple media contentitems and/or media content identifiers), mix rule or mix styleselections, etc.

The mix rule module 121 extracts and/or analyzes mix information (e.g.,from the playlist database 126), and creates and/or enables the creationof mix rules. In some implementations, the mix rule module 121 makes mixrules available to client devices (e.g., the client device 110-1) eitherdirectly and/or in conjunction with the interface module 122.

The media content database 124 stores media content that is configuredto be provided to and presented by the client device 110-1 and/orprovided to the CDN Servers 134, clients in a P2P Network 132, or otherdevices. For example, in some implementations, the media contentdatabase 124 stores audio (e.g., music, audio books, etc.), video (e.g.,movies, television shows, etc.), images, or other media content that canbe sent to (or streamed to) other client devices.

In some implementations, the media content database 124 includes data indifferent formats and file types to allow a variety of different devicesand/or applications to receive content.

In some implementations, the data is stored in a single file formatand/or container and is converted, transcribed, transcoded, and/ortransmuxed to the appropriate data type or format before or as it isstreamed to the client device 110-1. In other implementations, when thedata is stored in a single file format, the data is converted,transcribed, transcoded, and/or transmuxed to the appropriate data typeat the client device 110-1.

The playlist database 126 stores playlists of media content. Playlistsare received at the server system 120-1 from client devices (e.g., viathe interface module 122). In some implementations, playlists includeidentifiers of one or more media content items and playback information,including, but not limited to, mix and/or effect information associatedwith individual content items or multiple content items. For example, aplaylist may include a list of song identifiers as well as values ofparameters defining effects and settings to be applied during playbackof one or more content items in the playlist. As a more specificexample, a playlist may include identifiers of each song on LedZeppelin's “Houses of the Holy” album, along with information that thetransition between each song includes a five second crossfade durationand a reverb effect. As discussed herein, in some implementations, theserver system 120-1 (e.g., with the mix rule module 121) extracts mixinformation from the playlists in the playlist database 126. Suchinformation is used, for example, to create mix rules.

The mix rule database 128 stores mix rules and/or mix styles. Asdescribed herein, mix rules and/or mix styles may be created manually,automatically, or partially-automatically (e.g., using a combination ofmanually selected and crowdsourced mix information). In someimplementations, mix rules are specific to a particular media contentitem (or multiple media content items) and are stored in the mix ruledatabase 128 in association with an identifier of that content item. Insome implementations, mix rules are not associated with any particularmedia content item(s), and are stored independently of any particularmedia content item or identifier thereof Mix rules and/or mix stylesfrom the mix rule database 128 are made available to client devices, forexample, so that they can be applied to media content items for playbackat the client devices. Mix rules and mix styles, as well as specificexamples of mix rules and mix styles, are discussed herein with respectto FIGS. 4A-6.

The license information database 130 stores information regardingrestrictions and/or permissions placed upon media content items based onthe artists' and/or content owners' license agreements for those mediacontent items. For example, the license information database 130 storesinformation indicating whether and to what extent a licensor permitsusers to modify (e.g., add effects to, mix, remix, sample, etc.) theircontent items.

FIG. 1B is a block diagram of a media delivery system 150 in accordancewith some implementations. In some implementations, the media deliverysystem 150 includes a plurality of computing devices including a clientdevice 110-1 with a media content buffer 105 (or a local cache), one ormore server systems 120 (sometimes also herein called origin servers)with a media delivery module 122 and a media content database 124, apeer-to-peer (P2P) network 132 including one or more peers (133-1, . . ., 133-n), one or more content delivery network (CDN) servers 134, anetwork cache 136, and one or more redundant content host servers 138.In some implementations, media content is stored at one or more of thecomputing devices in the media delivery system 150. For example, mediacontent is initially stored in the media content database 124 of theserver system 120-1 and subsequently disseminated/distributed to one ormore peers 133 in the P2P network 132, one or more CDN servers 134,network cache 136, and/or one or more redundant content host servers 138for access by the client device 110-1. In some implementations, eachcomputing device within the media delivery system 150 can communicatewith each other computing device within the system (e.g., via one ormore networks, such as the network 115, FIG. 1A).

In some implementations, the client device 110-1 sends a media controlrequest to the server system 120-1 for media content. In response to therequest, the server system 120-1 (e.g., via the interface module 122)utilizes source information to instruct one or more of the computingdevices in the media delivery system 150 to send the media contentassociated with the media control request to the client device 110-1, orsends relevant source information to the client device 110-1 thatenables the client device 110-1 to request the media content associatedwith the media control request from a source (e.g., P2P network 132, CDNservers 134, network cache 136, or redundant content host servers 138).In some implementations, the client device 110-1 obtains media contentassociated with the media control request from the media content buffer105 (or a local cache). In some implementations, the client device 110-1utilizes locally stored source information to request or obtain mediacontent associated with the media control request from one or morecomputing devices in the media delivery system 150 (e.g., directly fromthe server system 120-1 or from a peer 133-1 in the P2P network 132).

FIG. 2 is a block diagram illustrating a representative client device110-1 in accordance with some implementations. The client device 110-1,typically, includes one or more processing units (CPUs) 202, one or morenetwork interfaces 210, memory 212, and one or more communication buses214 for interconnecting these components. The client device 110-1includes a user interface 204. The user interface 204 includes one ormore output devices 206, including user interface elements that enablethe presentation of media content to a user, including via speakers or avisual. The user interface 204 also includes one or more input devices208, including user interface components that facilitate user input suchas a keyboard, a mouse, a voice-command input unit, a touch-sensitivedisplay (sometimes also herein called a touch screen display), atouch-sensitive input pad, a gesture capturing camera, or other inputbuttons. In some implementations, the client device 110-1 is a wirelessdevice, such as a mobile phone or a tablet computer. Furthermore, insome implementations, the client device 110-1 uses a microphone andvoice recognition or a camera and gesture recognition to supplement orreplace the keyboard.

Memory 212 includes high-speed random access memory, such as DRAM, SRAM,DDR RAM, or other random access solid state memory devices; and,optionally, includes non-volatile memory, such as one or more magneticdisk storage devices, optical disk storage devices, flash memorydevices, or other non-volatile solid state storage devices. Memory 212,optionally, includes one or more storage devices remotely located fromone or more CPUs 202. Memory 212, or, alternatively, the non-volatilememory device(s) within memory 212, includes a non-transitory computerreadable storage medium. In some implementations, memory 212, or thecomputer readable storage medium of memory 212, stores the followingprograms, modules, and data structures, or a subset or superset thereof:

-   -   an operating system 216 that includes procedures for handling        various basic system services and for performing hardware        dependent tasks;    -   a network communication module 218 for connecting the client        device 110-1 to other computing devices via the one or more        communication network interfaces 210 (wired or wireless)        connected to one or more networks 115 such as the Internet,        other Wide Area Networks, Local Area Networks, Personal Area        Networks, metropolitan area networks, VPNs, peer-to-peer,        content delivery networks, ad-hoc connections, and so on;    -   a presentation module 220 (e.g., a media player) for enabling        presentation of media content at the client device 110-1 (e.g.,        rendering media content) through output devices 206 associated        with the user interface 204 (e.g., a touch screen display,        speakers, etc.);    -   one or more electronic device application modules 222 for        enabling the client device 110-1 to perform various        functionalities, the one or more application modules 222        including but not limited to one or more of:        -   an input processing module 224 for receiving input from a            user through the input device(s) 208 and interpreting the            received input;        -   a media request generation module 226 for generating a            request for media content based on input received by the            input processing module 224;        -   a media reception module 228 for receiving media content            (e.g., receiving a stream of media content) from a computing            device in the media delivery system 150 (e.g., for receiving            media content from a computing device that is remote from            client device 110-1);        -   a media application 104 for processing media content (e.g.,            media content streams), for providing processed media            content (e.g., at least one media content stream) to the            presentation module 220 for transmittal to the one or more            output device(s) 206, and for providing controls enabling a            user to navigate, select for playback, and control media            content, as well as select effects to be added to media            content, generate mixes of content items, and otherwise            select modifications to be applied to media content; the            media application includes:            -   a playlist editor 230 that allows a user to create,                edit, manage, share, and receive playlists of media                content items, as well as: select effects to be applied                to content items (e.g., flanger, reverb, delay/echo,                etc.); generate mixes of content items (e.g., overlays                of multiple content items or portions thereof, overlays                of additional instruments or sounds, crossfades between                content items, etc.); and select values of playback                attributes (e.g., volume, equalizer settings, etc.);            -   a playlist database 231 that stores playlists of media                content (e.g., lists of identifiers of media content                items, as well as associated information such as                playlist names, mix rules to be applied to tracks in the                playlist, and the like); and            -   a mix generation module 232 for receiving and/or                accessing media content items (e.g., from the media                delivery system 150) and applying effects to the content                items (e.g., flanger, reverb, delay/echo, etc.),                generating mixes of the content items (e.g., overlays of                multiple content items or portions thereof, overlays of                additional instruments or sounds, crossfades between                content items, etc.), and adjusting playback attributes                of the content items (e.g., volume, equalizer settings,                etc.) based on user selections;    -   one or more electronic device data modules 236 for storing data,        including, but not limited to one or more of:        -   a media content buffer(s) 105 (e.g., a local cache) for            storing (e.g., temporarily) media content data from a            computing device in the media delivery system 150 (e.g., a            server system 120-1, a respective peer 133-1, or any other            appropriate device);        -   a media content database 238 for storing, locally on the            client device 110-1, media content as part of the user's            personal media content library;        -   a user profile database 240 for storing account information            associated with a user of the client device 110-1 such as            user media history, user preferences, user interests,            account credentials, and/or other such information; and        -   a source table 242 for storing information indicating the            location or address of computing devices (e.g., sources) in            the media delivery system 150 storing respective segments or            portions of media content and, optionally, information            indicating which computing devices store which portions of            media content.

Each of the above identified elements may be stored in one or more ofthe previously mentioned memory devices, and corresponds to a set ofinstructions for performing a function described herein. The aboveidentified modules or programs (i.e., sets of instructions) need not beimplemented as separate software programs, procedures, or modules, andthus various subsets of these modules may be combined or otherwisere-arranged in various implementations. In some implementations, memory212, optionally, stores a subset or superset of the modules and datastructures identified above. Furthermore, memory 212, optionally, storesadditional modules and data structures not described above.

FIG. 3 is a block diagram illustrating a representative server system120-1 (e.g., an origin server) in accordance with some implementations.The server system 120-1, typically, includes one or more processingunits (CPUs) 302, one or more network interfaces 304, memory 306, andone or more communication buses 308 for interconnecting thesecomponents.

Memory 306 includes high-speed random access memory, such as DRAM, SRAM,DDR RAM, or other random access solid state memory devices; and,optionally, includes non-volatile memory, such as one or more magneticdisk storage devices, optical disk storage devices, flash memorydevices, or other non-volatile solid state storage devices. Memory 306,optionally, includes one or more storage devices remotely located fromone or more CPUs 302. Memory 306, or, alternatively, the non-volatilememory device(s) within memory 306, includes a non-transitory computerreadable storage medium. In some implementations, memory 306, or thecomputer readable storage medium of memory 306, stores the followingprograms, modules and data structures, or a subset or superset thereof:

-   -   an operating system 310 that includes procedures for handling        various basic system services and for performing hardware        dependent tasks;    -   a network communication module 312 that is used for connecting        the server system 120-1 to other computing devices via one or        more communication network interfaces 304 (wired or wireless)        connected to one or more networks 115 such as the Internet,        other Wide Area Networks, Local Area Networks, Personal Area        Networks, metropolitan area networks, VPNs, peer-to-peer,        content delivery networks, ad-hoc connections, and so on;    -   one or more server application modules 314 for enabling the        server system 120-1 to perform various functionalities,        including but not limited to one or more of:        -   an interface module 122 for sending (e.g., streaming) media            content to and receiving information from a client device            (e.g., the client device 110-1) remote from the sever system            120-1; in various implementations, information received from            the client device includes:            -   requests from client devices for media content (e.g., a                request to stream media content);            -   playlists (e.g., lists of content items generated and/or                saved by users); and            -   user selections of mix rules and/or mix styles to be                applied to media content;        -   a mix rule module 121 for extracting and/or analyzing mix            information (e.g., stored in and/or extracted from the            playlist database 126) and for creating and/or enabling the            creation of mix rules and/or mix styles;        -   a mix generation module 316 for receiving and/or accessing            media content items (e.g., from the media delivery system            150) and applying effects to the content items (e.g.,            flanger, reverb, delay/echo, etc.), generating mixes of the            content items (e.g., overlays of multiple content items or            portions thereof, overlays of additional instruments or            sounds, crossfades between content items, etc.), and            adjusting playback attributes of the content items (e.g.,            volume, equalizer settings, etc.) based on user selections,            and providing the media content items to the interface            module 122 for distribution to one or more client devices;        -   a context tracking module 326 for tracking and storing the            context of a media content stream, optionally, including            storing, among other data, one or more of the current            playback position in a media content stream that is being            presented by a client device (e.g., the client device            110-1), the position in a playlist, the play history of a            user, the preferences of a user, previously skipped media            content, whether media content items were “liked” or            “disliked” (e.g., via “starred,” “thumbs-up,” and/or            “thumbs-down” indications), and the like;    -   one or more server data modules 330 for storing data related to        the server system 120-1, including but not limited to:        -   a media content database 124 for storing media content and            metadata describing the media content and enabling clients            to search through the media content to identify media            content;        -   a playlist database 126 for storing playlists of media            content (e.g., lists of identifiers of media content items,            as well as associated information such as playlist names,            mix information applied to tracks in playlists, and the            like);        -   a mix rule database 128 for storing mix rules and/or mix            styles;        -   a license information database 130 for storing information            regarding restrictions and/or permissions placed upon media            content items based on the artists' and/or content owners'            license agreements; and        -   a source table 334 for storing information indicating the            location or address of sources in media delivery system 150            storing respective segments or portions of media content            and, optionally, information indicating which computing            devices store which portions of media content.

Each of the above identified elements may be stored in one or more ofthe previously mentioned memory devices, and corresponds to a set ofinstructions for performing a function described herein. The aboveidentified modules or programs (i.e., sets of instructions) need not beimplemented as separate software programs, procedures, or modules, andthus various subsets of these modules may be combined or otherwisere-arranged in various implementations. In some implementations, memory306, optionally, stores a subset or superset of the modules and datastructures identified above. Furthermore, memory 306, optionally, storesadditional modules and data structures not described above.

Although FIG. 3 shows the server system 120-1, FIG. 3 is intended moreas a functional description of the various features that may be presentin a set of servers than as a structural schematic of theimplementations described herein. In practice, and as recognized bythose of ordinary skill in the art, items shown separately could becombined and some items could be separated. For example, some itemsshown separately in FIG. 3 could be implemented on single servers andsingle items could be implemented by one or more servers. The actualnumber of servers used to implement server system 120-1, and howfeatures are allocated among them, will vary from one implementation toanother and, optionally, depends in part on the amount of data trafficthat the system must handle during peak usage periods as well as duringaverage usage periods.

As noted above, in some implementations, a playlist editor or otherappropriate user interface of a media application (e.g., the mediaapplication 104) provides controls that enable a user to create theirown mix rules. The specific controls that are offered depend on the typeof effects and the degree of control that are to be afforded to theuser. Several examples of controls are described below with reference toparticular types of mix effects and/or playback modifications that arepossible in various implementations.

FIG. 4A illustrates a playlist editor that includes controls for addingeffects to and/or otherwise modifying playback parameters of songs,according to some implementations. (For simplicity, the presentdiscussion refers to “tracks” or “songs”; however, it will be understoodthat the ideas presented herein relate to any appropriate media contentitems, including any audio, video, or other multimedia content.)

The user interface 400 includes a listing of a plurality of tracks(tracks 402, 404, 406, 408, and 410) corresponding to an exemplaryplaylist. A mixing interface 411 is displayed between tracks 404 andtracks 406, and includes controls for specifying aspects of a crossfademix effect between tracks 404 and 406.

In some implementations, tracks in the playlist separate to create a gapin which the mixing interface 411 is displayed without obscuring any ofthe tracks in the playlist. As described herein, in someimplementations, the mixing interface 411 appears in response to a userselection of a “mix” control that appears at a location representing atransition between two tracks. For example, mix control 432 illustratesone example of a control that causes a mixing interface (e.g., themixing interface 411) to appear. In the case of mix control 432, tracks402 and 404 would separate to create a gap in which the mixing interfaceis displayed.

In some implementations, the mixing interface 411 includes a crossfadecontrol 412. When selected, the crossfade control 412 causes track 404to crossfade into track 406 during playback of the playlist.

In some implementations, the mixing interface 411 includes a durationcontrol 420 and a crossfade curve control 419.

In some implementations, the duration control 420 and the curve control419 are displayed if the crossfade control 412 has been selected, andare not displayed if the crossfade control 412 has not been selected.For example, the duration control 420 and the curve control 419 appearin response to a selection of the crossfade control 412. In otherimplementations, these controls are displayed in the mixing interface411 regardless of whether the crossfade control 412 has been selected.

The duration control 420 allows a user to select the duration of thecrossfade between the selected tracks.

In some implementations, the duration control 420 is a text input field,such that a user can type or otherwise directly set a number value.

In some implementations, the duration control 420 includes a number ofpredefined values from which the user can select (e.g., presented to theuser in a dropdown menu).

The crossfade curve control 419 allows a user to select a volume curveto be applied during the crossfade between the selected tracks. In someimplementations, volume curves are based on mathematical curves definingthe change in volume over time of the tracks. For example, volume curvesmay be linear, cosine, or square, each representing a different volumeincrease/decrease profile for the selected tracks.

In some implementations, the volume curves are identified in the mixinginterface 411 with less technical terms, such as “smooth” (for linear),“curvy” (for cosine), “sharp” (for square), and “none” (indicating thatno volume fading of either track should occur during the transition). Asshown in FIG. 4, the “smooth” volume curve has been selected (asindicated by the box enclosing the word).

In some implementations, if no crossfade duration is selected, track 404will not overlap with track 406, but will instead proceed with apredetermined track pause duration (or no track pause).

In some implementations, even if no crossfade duration is selected, andhence the tracks do not overlap, a selected volume curve is stillapplied to one or both of tracks 404 and 406. For example, the ending oftrack 404 will fade-out according to a “curvy” volume curve, andsubsequently, the beginning of track 406 will fade in according to the“curvy” volume curve.

In some implementations, the mixing interface 411 includes a soundeffect control 414. When selected, the sound effect control 414 causesone or more selected sound effects to be applied to the playback oftrack 404 and/or track 406 during the crossfade between the two tracks.

The effect selection control 422 allows a user to select particularsound effects to be applied during the crossfade. For example, theeffect selection control 422 includes several exemplary sound effects,including flanger, delay/echo, reverb, distortion, octave effect, andvibrato. As shown in FIG. 4A, the “vibrato” effect has been selected. Insome implementations, multiple effects may be selected for simultaneousapplication.

In some implementations, users can specify values for effect parametersassociated with the selected effects. For example, once the “vibrato”effect has been selected, the mixing interface 411 (or anotherappropriate interface) allows the user to specify “speed” and“intensity” values for the vibrato effect.

In some implementations, the effect selection control 422 is displayedif the sound effect control 414 has been selected, and is not displayedif the sound effect control 414 has not been selected. For example, theeffect selection control 422 appears in response to a selection of thesound effect control 414. In other implementations, the effect selectioncontrol 422 is displayed in the mixing interface 411 regardless ofwhether the sound effect control 414 has been selected.

In some implementations, the mixing interface 411 includes a tempoadjustment control 416. When selected, the tempo adjustment control 416causes one or more selected tempo adjustments to be applied to theplayback of track 404 and/or track 406 during the crossfade between thetwo tracks. Tempo adjustments change the tempo of a track to which it isapplied, and may or may not result in a change of pitch. For example,the tempo of track 404 may be increased during the transition to track406 (e.g., during the end of track 404) in order to match the fastertempo of track 406. Tempo adjustments can be applied to one or both ofthe tracks during a transition.

The tempo curve selection control 424 allows a user to select aparticular tempo adjustment curve to be applied during the transition.For example, the tempo curve selection control 424 displays options for“playful,” “exact,” or “bouncy” tempo curves.

In some implementations, the tempo adjustment causes a differentrespective tempo adjustment to be applied to each of tracks 404 and 406.For example, in one such implementation, during the transition periodbetween tracks 404 and 406, the tempo of track 404 is increased whilethe tempo of track 406 is decreased, such that the tempos match duringall or part of the transition period. After the transition period (e.g.,once track 404 has ceased to be played back), the tempo of track 406 isreturned to its normal rate.

In some implementations, the curve selection control 424 is displayed ifthe tempo adjustment control 416 has been selected, and is not displayedif the tempo adjustment control 416 has not been selected. For example,the curve selection control 424 appears in response to a selection ofthe tempo adjustment control 416. In other implementations, the curveselection control 424 is displayed in the mixing interface 411regardless of whether the tempo adjustment control 416 has beenselected.

In some implementations, the mixing interface 411 includes a pitchadjustment control 418. When selected, the pitch adjustment control 418causes one or more selected pitch adjustments to be applied to theplayback of track 404 and/or track 406 during the crossfade. Pitchadjustments change the pitch of one or both of the tracks, and may ormay not result in a change of tempo. Such adjustments allow users toshift the musical key of one or both tracks during a transition, and canprovide smoother transitions between tracks. For example, the pitch oftrack 406 may be shifted so that it is “in key” with track 404 duringthe crossfade, which may produce a less discordant sounding transitionbetween the two tracks.

The pitch curve selection control 426 allows a user to select aparticular pitch adjustment curve to be applied during the transition.For example, the pitch curve selection control 426 displays options for“return to original,” “begin pitched,” and “stay pitched.”

In some implementations, the pitch curve selection control 426 isdisplayed if the pitch adjustment control 418 has been selected, and isnot displayed if the pitch adjustment control 418 has not been selected.For example, the pitch curve selection control 426 appears in responseto a selection of the pitch adjustment control 418. In otherimplementations, the pitch curve selection control 426 is displayed inthe mixing interface 411 regardless of whether the pitch adjustmentcontrol 418 has been selected.

In some implementations, the mixing interface 411 includes a previewcontrol 430 and a repeat control 428. The preview control 430, whenselected, causes all or a portion of the transition (e.g., a preview ofthe transition) to be played back, with all of the currently selectedeffects and/or playback adjustments applied. Accordingly, the user canhear how the transition will sound based on the current selections, andadjust the selections if desired.

In some implementations, changes made to the effects and/or playbackparameters while a preview is being played back are applied during thatpreview (i.e., without waiting until the preview ends). In otherimplementations, changes are applied during a next preview.

In some implementations, when the preview control 430 is selected (e.g.,a click and release, press and release, double click, etc.), the previewis played back in its entirety (or until the preview is terminated bythe user, e.g., by selecting a “stop” control, not shown, or byselecting the mix control 432).

In some implementations, the preview is played back as long as the usermaintains a selection of the preview control 430 (e.g., for the holdduration of a press-and-hold or click-and-hold selection, or while acursor is positioned within a boundary of the preview control 430).

In some implementations, both of the above described playbackfunctionalities can be invoked, depending on the characteristics of theselection. For example, in some implementations, in response to a firsttype of input (e.g., click-and-release, press-and-release, double-click,double-tap, etc.), the preview is played back in its entirety (or untilthe playback is terminated by the user). In response to a second type ofinput (e.g., a click-and-hold, press-and-hold, cursor “hover,” etc.),the preview is played back only during the duration of the selection.

The repeat control 428, when selected, causes the playback of thepreview to be repeated (i.e., “looped”) indefinitely (or n times, wheren is any appropriate value, which may be user selected), until the userterminates the preview (e.g., by unselecting the preview control 430and/or the repeat control 428, or by selecting a “stop” control, notshown). In some implementations, the repeat control does not causeplayback of a preview to begin; rather, the state of the repeat control428 determines whether the preview will be repeated in response to thepreview control 430 being selected.

In some implementations, the controls 412, 414, 416, 418, and 428 are“toggle” buttons, such that they toggle the associated mix rule and/orplayback parameter “on” or “off.” In some implementations, the controlsthemselves have a first appearance when they are “on” and a seconddistinct appearance when they are “off.” For example, they may appearone color to indicate “on” and another distinct color to indicate “off.”

Any of the effects and/or playback parameter adjustments describedherein with respect to FIG. 4A can be applied to any track or portion ofa track. In particular, while the effects and/or playback parameteradjustments were discussed in relation to a transition between twocontent items (i.e., a crossfade), they can be applied to single contentitems outside the context of a transition as well. For example, a“vibrato” effect can be applied to a middle portion of a single song.Thus, this effect is not part of a crossfade between two songs, butrather is simply an effect that is applied to one song. In suchimplementations, appropriate user interfaces and controls are providedto allow the user to select the effects and/or values of the playbackparameters that are to be applied to that content item, as well as wherewithin a song those effects and/or values are to be applied (e.g., sothe user can identify the particular portion of the song to which themodification should be applied). As a specific example, a user may wishto apply the vibrato effect to a song each time the chorus repeats. Userinterfaces (e.g., slider bars, start/stop time input fields, etc.) areprovided to allow the user to identify those portions of a track towhich the modifications are to apply.

Moreover, in various implementations, other effects and/or playbackadjustments can be selected and configured in the mixing interface 411.For example, in some implementations, the mixing interface 411 includescontrols for adjusting equalizer filters (e.g., bass, middle, treble),playback volume, etc. Moreover, additional controls may be provided toallow more (or more intricate) control of effects and/or playbackparameters. For example, in some implementations, different crossfadeeffects can be specified, such as asymmetrical volume levels (e.g., sothat a first track is allowed to end without any “fade out,” while asubsequent track fades in, either with or without any overlappingportion of the tracks).

As noted above, effects and/or playback parameter adjustments made usingthe mixing interface 411 are stored in association with a playlist. Forexample, the playlist shown in FIG. 4A is stored in one or both of theplaylist database 231 of the client device 110-1 and the playlistdatabase 126 of the server system 120-1.

In some implementations, effects, as well as parameter values thatgovern the effects, are identified by unique numbers (or any otherappropriate identifier), and stored in association with the playlist asa coded entry. In an exemplary coded entry, the effect is identifiedfirst, followed by parameter values that govern the effect, the entrytaking the form {Effect ID: Parameter Value 1, . . . , Parameter Valuen}. For example, a vibrato sound effect (having an effect ID of “1”)having a selected speed of “5” and an intensity of “2” would be storedin a playlist database as {1:5, 2}. As another example, a crossfadeeffect (having the effect ID “7”) having a selected duration of 8seconds and a volume curve “smooth” (corresponding to the parametervalue “1”) would be stored in a playlist database as {7:8, 1}. Anyeffect (e.g., sound effect, crossfade effect, tempo adjustment, pitchadjustment, etc.) can be represented in this manner.

The coded entries for each effect are stored in association withidentifiers of the particular track or tracks to which they are to beapplied. For example, an effect that is selected for application to asingle song is stored in association with an identifier of that song(e.g., in the mix rule database 128 and/or the media content database124 of the server system 120-1). An effect that is selected forapplication to multiple songs (e.g., during a transition between thesongs) will be stored in association with identifiers of those twosongs. In some implementations, song transitions in a playlist areuniquely identifiable, such that effects to be applied during thetransition are associated with the transition, rather than the songsindividually.

In some implementations, instead of storing coded entries for eacheffect in association with the track(s) to which they apply, playlistsinclude and/or are associated with metadata that specifies what effectsare to be applied to what tracks. This metadata is then accessed priorto or during playback of the playlist, and the effects are applied tothe content items when appropriate.

Effects and/or playback parameter adjustments are applied to tracks invarious ways. For example, in some implementations, a client device(e.g., the client device 110-1) receives and/or otherwise accesses mediacontent identified in the playlist, and applies (e.g., with the mixgeneration module 232) the selected effects and/or playback parameteradjustments to the media content.

In some implementations, a server computer (e.g., the server system120-1, or any other appropriate computing device in the media deliverysystem 150) receives and/or otherwise accesses media content identifiedin the playlist, and applies (e.g., with the mix generation module 316)the selected effects and/or playback parameter adjustments to the mediacontent. The server computer then streams or otherwise provides theadjusted media content to one or more clients (e.g., the client device110-1).

In some implementations, the audio processing that generates theplayback of the content items in accordance with the selected effects isperformed in a just-in-time manner, such that the audio data for theadjusted content item(s) is generated only a short time before playback.(The audio processing capabilities of the client device 110-1 maydetermine how far in advance of playback the processing should occur inorder to avoid lags, delays, or other undesirable effects.)

In some implementations, the audio processing is performed further inadvance of playback. For example, the audio data is generated shortlyafter an effect or adjustment has been selected for one or more contentitems (e.g., when a playlist with mix rules is stored, or when mix rulesto be applied to one or more content items has been created), before theplaylist is selected for playback. The previously generated audio datais then accessed at a later time (e.g., when the user is listening tothe playlist).

As another example, the audio data is generated once a playlist thatincludes one or more mix rules is selected for playback. Specifically,when a user selects a playlist for playback, the audio data for contentitems to which effects are to be applied is generated for all or part ofthe playlist in advance of playback of those particular items. The audiodata is then stored and retrieved when needed for playback.

As discussed above, FIG. 4A illustrates a mixing interface 411 thatprovides controls for adding effects and adjusting playback parametersof media content. In some cases, however, simpler and/or fewer controlsare offered. For example, FIG. 4B illustrates the playlist editor 400with a mixing interface 450. Instead of providing controls to allow theuser to select and manipulate specific effects and their parametervalues, the mixing interface 450 provides controls to select one or morepredefined mix styles. The mix style controls include mix style controls452, 454, 456, 458, 460, and 462.

As noted above, mix styles are predefined sets of one or more mix rules.In some implementations, the streaming media service provides the mixstyles, which are then selected by the user for application to one ormore tracks. In some implementations, as discussed below, mix styles usecrowdsourced information when determining or setting the values ofparticular parameters. Crowdsourced information may be used in theprocess of creating the mix style, or at the time the mix style isselected by a user for application to one or more tracks, as discussedherein.

The mix styles shown in the mixing interface 450 are configured to causethe following playback behaviors. These mix styles are merely exemplary,as are their titles. Other mix styles may also be presented.

-   -   “Classic crossfade” 452: do not match tempos, perform only a        linear volume crossfade.    -   “Classic beat mix” 454: match the tempos of the two tracks with        a linear volume crossfade.    -   “Sound Bomb” 456: match the tempos of the two tracks with fast        fade of bass frequencies in the middle third of the crossfade.    -   “Beat Storm” 458: match the tempos of the two tracks with fast        fade of bass frequencies in the middle third of the crossfade        with a delay-echo doubling the bass drums in the first third of        the crossfade.    -   “Signature Bar” 460: match the tempos of the two tracks with        bass and middle frequencies fading out over the entire        crossfade, add a flanger effect during the middle third and the        last third of the crossfade, and the target song fades in        quickly.    -   “Automatic” 462: select mix rules based on the particular tracks        that are selected using crowdsourced information.

When a mix style control is selected (e.g., by clicking, touching,pressing, etc.), the one or more mix rules specified by the selected mixstyle are associated with one or more tracks, as described herein withrespect to FIG. 4A.

Other controls can also be provided, according to some implementations.For example, FIG. 4C illustrates the playlist editor 400 with a mixinginterface 470. The mixing interface 470 provides endpoint controls(first endpoint control 472 and second endpoint control 474) with whicha user can select transition points for the tracks to which a crossfadeeffect is to be applied. In some implementations, the mixing interface470 also displays graphical representations of the tracks to which thecrossfade is to be applied (e.g., first waveform 471 and second waveform473). In some implementations, the graphical representations arewaveforms, which may or may not represent the actual waveform of theselected track.

In some implementations, the mixing interface 470 also includes effectcontrols that, when selected by a user, cause a corresponding effect tobe applied to the selected tracks during the crossfade. For example,FIG. 4C illustrates a flanger effect control 474, a reverb effectcontrol 476, a distortion effect control 478, an octave effect control480, and a vibrato effect control 482. These effects are merelyexemplary, and more, fewer, or different effects and/or effect controlsare provided in various implementations.

The endpoint controls 472, 474 allow users to specify when, within theselected tracks, a crossfade will begin and end. Specifically, thelocation of first endpoint control 472 specifies when, during theplayback of one or both of the selected tracks, the crossfade transitionwill begin. The location of the second endpoint control 474 specifieswhen, within playback of one or both of the selected tracks, thecrossfade transition will end.

FIG. 4D illustrates the mixing interface 470 after a user has moved thefirst and second endpoint controls 472, 474 to particular locationsrelative to the waveforms 471, 473. In this example, the crossfadeduration (i.e., the time between the first endpoint control 472 and thesecond endpoint control 474) begins at a first point within the firsttrack, and ends at a second point within the first track. Duringplayback of the playlist in which the transition between the selectedtracks will be played back, the tracks will be played back in accordancewith the selections made in the mixing interface 470, including theapplication of any selected crossfade effects.

In some implementations, during the crossfade duration, the first trackbegins to fade out and the second track begins to fade in at theplayback location specified in each track by the first endpoint control472. For example, the particular selection shown in FIG. 4D results inthe first track (track 404) beginning to fade out at a point prior tothe end of the track (point 490), while the second track (track 406)will begin to fade in at the beginning of the track (point 492). Thefirst track continues to fade out until the playback location specifiedby the second endpoint control 474 is reached (point 494), at whichpoint it is inaudible (e.g., at zero volume and/or no longer beingplayed back). Similarly, the second track fades in until the playbacklocation specified by the second endpoint control 474 is reached (point496), at which point it will be fully audible (e.g., at the selectedplayback volume of the device and/or media application). In someimplementations, the fading in and out of the tracks is governed by oneor more of the volume curves described herein.

As shown in FIG. 4D, the second endpoint control 474 is positionedbefore the natural end of the first track, indicating that the portionof the first track falling on the right side of the control 474 will becropped (e.g., not played). However, a user can select other locationsfor the endpoint controls 472, 474. For example, the second endpointcontrol 474 can be positioned at the end of the first track (e.g., atthe end of the waveform 471), such that the end of the first track isnot cropped during playback.

FIG. 4E illustrates another example of how the endpoint controls 472,474 and the waveforms 471, 473 may be oriented in order to produce acertain crossfade effect. In this case, the second waveform 473 ispositioned such that it will not begin to fade in until after thecrossfade duration has begun (i.e., after the first track has begun tofade out, as specified by the location of endpoint control 472).Accordingly, the first track (track 404) will begin to decrease involume, even though playback of the second track (track 406) has not yetbegun. Once the playback position at which playback of the second track(track 406) begins (e.g., approximately in the middle of the crossfadeduration), it will fade in according to an appropriate volume curveuntil it is at full volume and the first track has ceased to be playedback.

In some implementations, both the endpoint controls 472, 474 and thewaveforms 471, 473 are moveable by a user. For example, they may bemoved by dragging or swiping (e.g., with a finger, mouse, stylus, orother pointing tool), keyboard input (e.g., arrow keys), or any otherappropriate technique. Accordingly, users can create many unique andinteresting crossfades to suit the particular properties of the songs,personal artistic preferences, and the like.

The mixing interfaces 411, 450, and 470 are illustrated separately inFIGS. 4A-4E. However, these interfaces, and/or the controls discussedwith respect to these interfaces, may be combined in any manner,including any subsets or supersets thereof. For example, all of thecontrols in the mixing interfaces 411, 450, and 470 are, in someimplementations, included in a single mixing interface. In someimplementations, controls not shown or described are included in amixing interface, while in other implementations, controls shown ordescribed are not included in a mixing interface.

In some implementations, mix rules and/or mix styles are based on and/orincorporate crowdsourced mix information. As described herein,crowdsourced mix information can include various different types ofinformation related to user-generated mixes of media content, and can beused to create and/or modify mix rules or mix styles in variousdifferent ways.

In order to leverage user-generated mix information for crowdsourcingmix rules or mix styles, the streaming service receives and/or storesmix information from various users. In some implementations, thestreaming service extracts and/or accesses mix information fromplaylists that are stored in a playlist database (e.g., the playlistdatabase 126). In some implementations, the playlist database 126 storesuser-generated playlists that include specifications for the mixes thatwere generated by a user for that playlist. Accordingly, the streamingservice (e.g., using the server system 120-1) has access to theuser-generated mix information for various purposes, such as creatingand/or modifying mix rules and/or mix styles.

Mix information includes any and all parameters and values that are usedto create mixes. For example, as noted above, effects can be representedby effect identifiers and accompanied with values of parameters thatgovern the effect. Such identifiers and parameter values are stored inassociation with the tracks to which they are applied. As anotherexample, playback locations associated with crossfade effects are alsostored in association with the tracks to which they are applied.Specifically, in some implementations, the selected playback locationsat which the tracks fade in or out, or whether and where they arecropped, are stored in association with each track. Mix information isstored (in association with the tracks to which they are applied) in anyappropriate location or manner, such as in the playlist database 126, ora separate mix information database (not shown).

FIG. 5A illustrates an exemplary table 500 that includes mix informationfrom various users for a particular track. Each row in table 500represents user-generated mix information for the same song (in thisexample, “Stayin' Alive”). In some implementations, table 500 representsa portion of (or data from) a larger table or database, such as adatabase that includes data pertaining to mix information from aplurality of different content items and a plurality of different users(e.g., the playlist database 126), or a mix information database (notshown). For example, the database of which table 500 is a portion (or isextracted from) may include user-generated mix information for each ofthe content items in the streaming service's content library, to theextent that any user-generated mix information exists for those contentitems. In some implementations, mix information is not stored ordisplayed as a table; however, it is shown as a table here for purposesof explanation.

Table 500 includes columns representing various types of information,including:

-   -   track name 502 (e.g., the name of the content item, such as a        song title)    -   track ID 504 (e.g., a unique identifier of the track, which can        be used to differentiate between content items that have the        same name);    -   user ID 506 (e.g., an identifier of the user who generated that        instance of mix information);    -   fade-in start 508 (e.g., the user-selected time at which a        “fade-in” portion of a crossfade begins, and/or at which the        track begins to overlap with the previous track);    -   fade-in stop 510 (e.g., the user-selected time at which a        “fade-in” portion of a crossfade ends, and/or at which the track        ceases to overlap with the previous track);    -   fade-out start 512 (e.g., the user-selected time at which a        “fade-out” portion of a crossfade begins, and/or at which the        track begins to overlap with the following track);    -   fade-out stop 514 (e.g., the user-selected time at which a        “fade-out” portion of a crossfade begins, and/or at which the        track ceases to overlap with the following track);    -   fade-in effect 516 (e.g., a user-selected effect that is applied        during a “fade-in” portion of the track); and    -   fade-out effect 518 (e.g., a user-selected effect that is        applied during a “fade-out” portion of the track).

Table 500 also includes rows 550-554, each representing a mix instancefor a particular song (e.g., a set of user-selected mix rules that wereapplied to that song in at least one instance).

As noted above, fade start and stop times 508-514 specify the startingand ending times (within the playback of the track) for fade-in andfade-out periods. Fade-in and fade-out periods relate to the fading thatoccurs during a crossfade between two tracks (for example, as discussedabove with respect to FIGS. 4A-4E). In particular, the fade-in starttime refers to the time at which the track begins to fade in.Frequently, this is at the very beginning of the song (i.e., at the 0:00playback position), indicating that the fade-in includes the beginningof the song. However, as described herein with respect to FIGS. 4C-4E, auser may crop a portion of the song, such that a beginning portion isnot played at all. In those cases, the fade-in start time will be afterthe beginning of the song. For example, rows 551 and 554 illustratefade-in start times that are after the beginning of the song: row 551specifies that the first 2 seconds of the song has been cropped, whilerow 554 specifies that the first 18 seconds of the song has beencropped.

In some cases, a song will not be crossfaded at either or both of thebeginning or the end of the track. In such cases, the entry for that mixinstance will reflect that no crossfade was applied. For example, entry553 includes no data in the fade-in start 508 or the fade-in stop 510columns.

Fade-out start time 512 refers to the playback time at which the trackstarts to fade-out during a crossfade period. For example, entry 550specifies that the song will begin to fade out at a playback location of4 minutes and 40 seconds.

The fade-out stop time 514 refers to the playback time at which thetrack is completely faded out (e.g., playback of the track has ceased).For example, entry 550 specifies that the song will be completely fadedout at 4 minutes and 46 seconds. The song shown, “Stayin' Alive,” is4:46 long, so entry 550 specifies that the song is played to completionduring the crossfade. By contrast, entry 552 specifies a fade-out stoptime of 4:10, specifying that the song ceases to be played back at theplayback location of 4:10, effectively cropping the remaining 36 secondsof the song (as illustrated in FIG. 4E, for example).

As noted above, fade-in effect 516 specifies an effect selected by auser for application during the fade-in period associated with aparticular track, and fade-out effect 518 specifies an effect selectedby a user for application during the fade-out period associated with thetrack. The effects in table 500 are illustrated according to theexemplary format described above: {Effect ID: Parameter Value 1, . . . ,Parameter Value n}. While only one column is shown for each of thefade-in and fade-out periods, in some implementations, multiple effectscan be applied to each period, and an entry for such an instance wouldinclude information specifying the multiple effects. Effects need not beapplied to tracks in any given instance. For example, entry 551 includesno data for the fade-out effect, indicating that no effect was selectedfor that portion of the song. Moreover, effects can also be applied tolocations within songs that are not associated with a crossfade. Forexample, table 500 can include columns specifying effects and locationswithin a song where such effects are to be applied (not shown).

The particular format of table 500 and the data contained therein ismerely exemplary, and other layouts, data types, columns, rows, etc.,are contemplated as well. Moreover, the data represented in table 500need not be represented and/or stored in tabular form. Instead, anytechnique for representing and/or storing data may be used.

As noted above, mix information, such as that illustrated in table 500,is used as a basis for creating crowdsourced mix rules and/or mixstyles. For example, the streaming service may use user-generated mixinformation to determine popular effects and/or combinations of effects,and generate mix rules and/or mix styles based thereon. Specifically,the streaming service may determine that many users couple a reverbeffect with a flanger effect, and create a mix style using these twoeffects. Values of effect parameters can also be based on theuser-generated mix information. For example, in some implementations,parameter values from many different users are averaged, and the averagevalue (or a value close to the average value) is used as the value forthat particular parameter in the mix style. As an example, for a“flanger” effect, the average value for a “speed” parameter iscalculated from a plurality of mix instances of a particular song.Alternatively, a median or a modal value (or any other appropriate valuebased on the mix information) may be used instead of and/or in additionto the average value when selecting a value to be used in a mix rule ormix style.

In some implementations, the streaming service creates preconfigured mixrules for particular tracks or combinations of tracks. For example, thestreaming service can analyze all (or a subset of) the mix informationfor a particular track, and determine a set of mix rules for thatparticular track using the mix information. As an example, the mixinformation in FIG. 5A is used to determine mix rules that will beassociated with the song “Stayin' Alive.” These mix rules are then usedwhen a user requests a mix including this song. The preconfigured mixrules can be generated in various ways. In some cases, they aregenerated at least partially automatically, using a computer-generatedprocess to determine a set of mix rules, based on the crowdsourced mixinformation, that is most common and/or is most likely to be pleasing.In some cases, values of a particular mix rule (e.g., “fade-in start,”“fade-in effect,” etc.) are based on an average of the crowdsourced mixinformation. In some cases, values are based on a most-frequentlyselected value (e.g., a mode). In some cases, values are based on amedian selected value.

In some implementations, preconfigured mix rules are createdautomatically. For example, a computer accesses the crowdsourced mixinformation and generates the mix rules without user intervention byapplying a mix rule creation algorithm. A mix rule creation algorithmanalyzes mix information and creates mix rules based thereon, includingby identifying or calculating patterns, mean/median/modal values ofplayback parameters, and the like.

In some implementations, preconfigured mix rules are created partiallyautomatically. For example, a computer accesses the crowdsourced mixinformation and generates candidate mix rules, and then a human operatorreviews at least some of the candidate mix rules to determine whetherthey are satisfactory. The human operators may then tune, adjust, orotherwise modify the candidate mix rules based on one or more objectiveor subjective criteria (e.g., whether the mix rule results in a pleasingsound when applied).

FIG. 5B illustrates an exemplary table 560 that includes preconfiguredrules for tracks and combinations of tracks (for example, based on mixinformation in table 500, FIG. 5A). The rows in table 560 representpreconfigured mix rules for a particular song (e.g., rows 561-564) orone or more songs (e.g., row 565). Columns 508-518 are described above.

Row 561, for example, represents preconfigured mix rules for the track“Stayin' Alive.” As noted above, the preconfigured mix rules for thistrack (e.g., the fade-in start and stop times and effects, the fade-outstart and stop times and effects) are generated based on thecrowdsourced mix information for the track (e.g., as described withrespect to FIG. 5A). Thus, when “Stayin' Alive” is selected to be mixedwith another track (e.g., “Brick House,” shown in Row 562), thepreconfigured mix rules can be applied to the transition between the twosongs.

Songs that are selected to be mixed will not necessarily have the samepreconfigured mix rules. For example, the fade-out times and effects for“Stayin' Alive” and the fade-in times and effects for “Brick House”shown in FIG. 5B do not match, so if a user selects a crossfade betweenthese two tracks (and requests or allows the service provider to usecrowdsourced mix rules to define the transition), the service providergenerates a set of mix rules for the selected transition based on one orboth of the preconfigured mix rules.

In some implementations, the mix rules of one track take precedence overthe other. The track that takes precedence can be determined in anyappropriate way. For example, the preferred track is the track that wasgenerated from a higher number of individual crowdsourced samples. Asanother example, the preferred track is the track for which thepreconfigured mix rules have received a higher user rating. As yetanother example, the preferred track is the track that is fading out(e.g., the fade-out times and effects of the first song take precedenceover the fade-in times and effects of the second song), or the song thatis fading in (e.g., the fade-in times and effects of the second songtake precedence over the fade-out times and effects of the first song).Other techniques are also contemplated.

In some implementations, the mix rules of both tracks are combined. Forexample, the fade-in and fade-out durations of the two tracks areaveraged to produce a single fade duration for the transition, and theselected effects for the fade-in and fade-out portions of each track canalso be applied.

In some implementations where fade-in and fade-out durations areaveraged, the fade-out start time for the first song is maintained, andthe fade-out stop time is allowed to change to satisfy the new fadeduration. Similarly, the fade-in stop time of the second song ismaintained, and the fade-in start time is allowed to change to satisfythe new fade duration. As an example, if a user selects a crossfade from“Stayin' Alive” to “Brick House,” and specifies that preconfigured mixrules are to be applied, the crowdsourced fade durations do not match:“Stayin' Alive” has a fade-out duration of 6 seconds, while “BrickHouse” has a fade-in duration of 4 seconds. The average fade duration ofthese songs is 5 seconds, which does not agree with the start and stoptimes listed for each song. Accordingly, as described, the fade-outstart time of “Stayin' Alive” remains at 4:40, but the fade-out stoptime changes to 4:45, and the fade-in start time of “Brick House”changes to 0:05, and the fade-in stop time remains at 0:10. Other waysof harmonizing the fade duration and start and stop times for multipletracks are also contemplated.

Row 565 in FIG. 5B illustrates an example of a preconfigured mix rulefor a pair of songs. This mix rule is generated based on crowdsourcedmix information relating to a crossfade between these two particulartracks. Specifically, row 565 shows a crossfade between the tracks “HotStuff” and “When Doves Cry,” with a crossfade duration of 5 seconds, andfade start and stop times as shown in columns 508-514 of FIG. 5B. Row565 also shows, in column 518, an effect (including an effect ID andeffect parameter value) for the crossfade.

A mix rule for a pair of songs may result when multiple users havemanually selected crossfade parameters for these specific tracks (e.g.,using techniques and/or interfaces described herein with respect toFIGS. 4A-4E). Where a predefined mix rule for a particular pair oftracks exists, it is not necessary to harmonize disparate mix rules (asdescribed above with the mix of “Stayin' Alive” and “Brick House”),because fade start and stop times, fade duration, and fade effects werespecifically intended to conform to one another. Thus, there is nodiscrepancy between the fade durations for each track, as is possiblewhen crowdsourced mix rules for two independent tracks are combined.

In some implementations, instead of creating fully preconfigured mixrules based on crowdsourced mix information, the streaming servicecreates mix rules in real-time based on media content selected by auser. Specifically, the streaming service provides a mix rule or mixstyle that includes one or more unspecified parameter values, and thestreaming service will populate the unspecified value(s) based oncrowdsourced information relating to the particular content items towhich the mix rule/style is to be applied. In this way, mix rules andmix styles can be customized for the particular content items that areselected, which can create higher quality mixes than would be possiblewith static parameter values. Moreover, the service provider does notneed to create and store mix rules for each and every possibletransition between songs in order to take advantage of the crowdsourcedmix information.

As discussed below, crowdsourced mix information can be used in numerousways to specify customized mix rules in real-time.

FIG. 6 illustrates an exemplary mix style table 600 that includes mixstyles 602, 604, and 606, each having one or more unspecified values ofplayback parameters, where the unspecified values are to be looked upand/or generated once a mix style has been selected for application toone or more media content items (e.g., songs).

Mix style table 600 includes columns representing various types ofinformation, including: mix style name 610 (e.g., a name or otheridentifier of the mix style); first song fade-out start 612 (e.g., thetime at which the “fade-out” portion of a crossfade begins for the firstsong of a crossfade); first song fade-out stop 614 (e.g., the time atwhich the “fade-out” portion of a crossfade ends for the first song of acrossfade); second song fade-in start 616 (e.g., the time at which the“fade-in” portion of a crossfade begins for the second song of acrossfade); second song fade-in stop 618 (e.g., the time at which the“fade-in” portion of a crossfade stops for the second song of acrossfade); and effect 620 (e.g., a specification of an effect to beapplied during the crossfade).

Mix style 602 is one example of a mix style that relies on a real-timelookup of crowdsourced information. Specifically, in place of apreconfigured value for the fade-in and fade-out periods of the firstand second songs of a crossfade, mix style 602 includes a “lookup”command to indicate that the particular values for those parametersshould be based on real-time crowdsourced information. For example, whena user selects the “vibrato crossfade” mix style for a transitionbetween a first song and a second song, values of the fade-out start andstop parameters are extracted from crowdsourced mix information for theparticular song to which the mix style is applied. As an example, if thefirst song in a crossfade transition is “Stayin' Alive,” the streamingservice (e.g., using any appropriate client device(s) and serversystems(s)) determines (e.g., by performing a lookup in a database) thatthe most common “fade-out start” time is 4:40, and that the most common“fade-out stop” time is 4:46 (e.g., as shown in Table 500 of FIGS.5A-5B). Accordingly, when the “vibrato crossfade” mix style is selectedfor application to the song “Stayin' Alive,” the values of the fade-outstart and stop times are customized for that particular song, usingvalues that were manually selected by other users, thus increasing thechances that the crossfade will be aesthetically pleasing for that song.

Mix style 602 also includes unspecified values for the fade-in start andstop times for the second song of a crossfade. In this case, however,the values are not based on crowdsourced information for the secondsong, but instead match whatever values were identified for the firstsong. This ensures that the fade-in and fade-out periods of the songsare equal, resulting in a symmetrical crossfade (i.e., the first songfades-out at the same rate and over the same duration that the secondsong fades-in).

Mix style 604, the “best effect” mix, is another example of a mix stylethat relies on a real-time lookup of crowdsourced information.Specifically, in place of a preconfigured effect, mix style 604 includesa “lookup” command to indicate that the particular effect andcorresponding parameter values to be applied to a selected transitionshould be based on real-time crowdsourced information. For example, whena user selects the “best effect” mix style for a transition between afirst song and a second song, effect IDs and corresponding parametervalues are extracted from crowdsourced mix information for theparticular song or songs to which the mix style is applied. As aspecific example, if the first song in a crossfade transition is“Stayin' Alive,” the streaming service (e.g., using any appropriateclient device(s) and server systems(s)) determines (e.g., by performinga lookup in a database) that the most common effect is “vibrato” havinga speed of “5” and an intensity of “2.” Accordingly, when the “besteffect” mix style is selected for application to the song “Stayin'Alive,” the effect and the values of the effect parameters arecustomized for that particular song using values that were manuallyselected by other users, thus increasing the chances that the crossfadewill be aesthetically pleasing for that song.

As described above, the particular effect and parameters selected for a“best effect” mix can be based on the first song in the transition,based on the second song in the transition, or based on both songs inthe transition. For example, if the “best effect” mix is selected forapplication to a transition between “Stayin' Alive” and “Brick House,”the effect may be selected based on what other users have selected for“Stayin' Alive,” regardless of the song that follows, or based on whatother users have selected for “Brick House,” regardless of the precedingsong, or even based on what other users have selected for a transitionbetween “Stayin' Alive” and “Brick House.”

Mix style 606, the “magic mix,” is another example of a mix style thatrelies on a real-time lookup of crowdsourced information. In this case,all of the values of the mix style are based on real-time crowdsourcedinformation. For example, when a user selects the “magic mix” style fora transition between a first song and a second song, fade-in andfade-out periods of the first and second songs, as well as the effectIDs and corresponding parameter values, are extracted from crowdsourcedmix information for the particular song (or songs) to which the mixstyle is applied. Specific examples of looking up fade-in and fade-outperiods are described above with respect to mix style 602, and specificexamples of looking up effect IDs and corresponding parameter values aredescribed above with respect to mix style 604. For brevity, thosediscussions are not repeated here.

The unspecified playback parameters in mix rules 602, 604, and 606 areexemplary, and more, fewer, or different playback parameters may beunspecified in any given mix rule. In various implementations, theunspecified playback parameters include any of the playback parametersdescribed herein, or any combination thereof. Moreover, the contents ofmix style table 600 are also exemplary, and more, fewer, or differentinformation may be included in a mix style table according to variousimplementations.

FIG. 7 is a flow diagram illustrating a method 700 of mixing music, inaccordance with some implementations. The method 700 is performed at anelectronic device (e.g., server system 120-1 as shown in FIGS. 1A-1B and3). Some operations in method 700 are, optionally, combined and/or theorder of some operations is, optionally, changed.

A device (e.g., the server system 120-1 shown in FIGS. 1A-1B and 3)receives audio mix information from a plurality of users (702). Audiomix information is received in any appropriate manner. For example,playlists including mix information are generated by users on clientdevices (e.g., client devices 110-n) and stored in a playlist database126 of the server system 120-1. As another example, playlists includingmix information are initially stored on client devices (e.g., clientdevices 110-n), and are uploaded to or retrieved by the server system120-1, for example, when accounts are synchronized with the serversystem 120-1, on a predetermined schedule, or at any other appropriatetime.

In some implementations, the received audio mix information includesuser-selected values of a set of one or more playback parameters used togenerate transitions between overlapping audio items. Examples of userselected values of playback parameters include fade-in and fade-outstart/stop times, effect identifiers and values, and the like.

The device determines mix rules from the audio mix information from theplurality of users (704). The mix rules include a first mix rule (e.g.,predefined values of a set of one or more playback parameters)associated with a first audio item, where the first mix rule relates toan overlap of the first audio item with another audio item (e.g., acrossfade). In some implementations, the first mix rule relates to anoverlap of the ending of the first audio item with the beginning of theother audio item (e.g., a rule relating to a fade-out of the firstsong).

In some implementations, the mix rules also include a second mix ruleassociated with the first audio item, where the second mix rule relatesto an overlap of a beginning of the first audio item with an ending of apreceding audio item (e.g., a rule relating to a fade-in of the firstsong). Techniques for determining mix rules from audio mix informationfrom a plurality of users are discussed above with respect to FIGS.5A-6.

While the first and second mix rules described above relate to atransition and/or an overlap of two audio items, they are associatedonly with one particular audio item (e.g., as described with respect torows 561-564 in FIG. 5B). In some implementations, the mix rules alsoinclude a third mix rule associated with a pair of audio items (e.g., asdescribed with respect to row 565, FIG. 5B), rather than just a singleaudio item.

The device then makes the mix rules (e.g., the first, second, and/orthird mix rule, or any other mix rule of the plurality of mix rules)available to one or more clients (706). For example, the device storesthe mix rules (either locally or on one or more devices a peer-to-peernetwork) for transmission to one or more clients. As another example,the device stores the mix rules so that they can be applied to audioitems prior to the audio items being sent to a client that requests theaudio items and the mix rules.

In some implementations, the device receives, from a first client of theone or more clients, information indicating that the first audio item isto be mixed with a second audio item in accordance with the first mixrule (708). For example, a user may select the first mix rule from alist of available mix rules. Alternatively, a user may select a mixstyle (e.g., a combination of mix rules) for the first and second audioitems, where the mix style incorporates the first mix rule.

The device (e.g., the server system 120-1) then transmits, to the firstclient, information enabling the first client to playback a transitionbetween the first audio item and the second audio item in accordancewith the first mix rule (710). As described above, one example of such atransition is a crossfade between two adjacent audio items in a playlist(e.g., the ending of the first audio item is to be mixed with thebeginning of the second audio item).

In some implementations, the information that is transmitted to thefirst client includes an audio stream that includes the first audio itemand the second audio item mixed in accordance with the first mix rule.

In some implementations, the information that is transmitted to thefirst client includes a specification of the mix rule, and the firstclient applies the mix rule to the first and second audio items tocreate an audio stream that includes the transition. Specifically,processing the audio items in accordance with the mix rule (e.g.,manipulation of a media file to produce the desired transition oreffect) is performed by the client device.

The device (e.g., the server system 120-1) can also receive, from thefirst client, information indicating that the first audio item is to bemixed with a third audio item in addition to the second audio item(712). For example, a crossfade is to be applied at the beginning of thefirst audio item (from a third audio item that precedes the first audioitem) and the end of the first audio item (to a second audio item thatfollows the first audio item).

The device (e.g., the server system 120-1) then transmits, to the firstclient, information enabling the first client to playback a transitionbetween the first audio item and the third audio item in accordance withanother mix rule (714).

In some implementations, the device (e.g., the server system 120-1)receives from an additional client of the one or more clients (e.g., asecond client) information indicating that the first audio item is to bemixed with the second audio item in accordance with the first mix rule.Specifically, the second client requests the same transition as thefirst client. The device then transmits, to the second client,information enabling the second client to playback the requestedtransition (e.g., as described above with respect to step 710).

In some implementations where making the first mix rule available to aclient includes transmitting information to the client device (e.g.,information specifying selected mix rules), the client device mixes theaudio items, in accordance with the received information. Specifically,generating the audio for the transition is performed on the clientdevice.

In other implementations, making the first mix rule available to theclient device includes transmitting, to the client device, an audiostream including the first audio item mixed with the second audio itemin accordance with the first mix rule (711). For example, the audioitems are mixed, in accordance with the mix information, at a separatedevice (e.g., the server system 120-1, another client device, or anyother device from the media delivery system 150), and audio data for thefirst and second audio items as well as the transition are delivered tothe client device ready for playback (i.e., they are streamed). In suchcases, the client device (and/or the software of the client device) canbe simpler, as the audio processing for generating the mixing isperformed at a different device.

It should be understood that the particular order in which theoperations in FIG. 7 have been described is merely exemplary and is notintended to indicate that the described order is the only order in whichthe operations could be performed. One of ordinary skill in the artwould recognize various ways to reorder the operations described herein.For brevity, these details are not repeated here.

Plural instances are, optionally provided for components, operations, orstructures described herein as a single instance. Finally, boundariesbetween various components, operations, and data stores are somewhatarbitrary, and particular operations are illustrated in the context ofspecific illustrative configurations. Other allocations of functionalityare envisioned and optionally fall within the scope of theimplementation(s). In general, structures and functionality presented asseparate components in the example configurations are, optionally,implemented as a combined structure or component. Similarly, structuresand functionality presented as a single component are, optionally,implemented as separate components. These and other variations,modifications, additions, and improvements fall within the scope of theimplementation(s).

It will also be understood that, although the terms “first,” “second,”are, in some circumstances, used herein to describe various elements,these elements should not be limited by these terms. These terms areonly used to distinguish one element from another. For example, a firstcontact could be termed a second contact, and, similarly, a secondcontact could be termed a first contact, which changing the meaning ofthe description, so long as all occurrences of the “first contact” arerenamed consistently and all occurrences of the second contact arerenamed consistently. The first contact and the second contact are bothcontacts, but they are not the same contact.

The terminology used herein is for the purpose of describing particularimplementations only and is not intended to be limiting of the claims.As used in the description of the implementations and the appendedclaims, the singular forms “a”, “an” and “the” are intended to includethe plural forms as well, unless the context clearly indicatesotherwise. It will also be understood that the term “and/or” as usedherein refers to and encompasses any and all possible combinations ofone or more of the associated listed items. It will be furtherunderstood that the terms “comprises” and/or “comprising,” when used inthis specification, specify the presence of stated features, integers,steps, operations, elements, and/or components, but do not preclude thepresence or addition of one or more other features, integers, steps,operations, elements, components, and/or groups thereof.

As used herein, the term “if” is, optionally, construed to mean “when”or “upon” or “in response to determining” or “in accordance with adetermination” or “in response to detecting,” that a stated conditionprecedent is true, depending on the context. Similarly, the phrase “ifit is determined (that a stated condition precedent is true)” or “if (astated condition precedent is true)” or “when (a stated conditionprecedent is true)” is, optionally, construed to mean “upon determining”or “in response to determining” or “in accordance with a determination”or “upon detecting” or “in response to detecting” that the statedcondition precedent is true, depending on the context.

The foregoing description included example systems, methods, techniques,instruction sequences, and computing machine program products thatembody illustrative implementations. For purposes of explanation,numerous specific details were set forth in order to provide anunderstanding of various implementations of the inventive subjectmatter. It will be evident, however, to those skilled in the art thatimplementations of the inventive subject matter is, optionally,practiced without these specific details. In general, well-knowninstruction instances, protocols, structures and techniques have notbeen shown in detail.

The foregoing description, for purpose of explanation, has beendescribed with reference to specific implementations. However, theillustrative discussions above are not intended to be exhaustive or tolimit the implementations to the precise forms disclosed. Manymodifications and variations are possible in view of the aboveteachings. The implementations were chosen and described in order tobest explain the principles and their practical applications, to therebyenable others skilled in the art to best utilize the implementations andvarious implementations with various modifications as are suited to theparticular use contemplated.

What is claimed is:
 1. A server system, comprising: one or moreprocessors; and memory storing one or more programs configured to beexecuted by the one or more processors, the one or more programsincluding instructions for: receiving, via one or more networks, audiomix information for a first audio item from client devices for aplurality of users, wherein the audio mix information includesuser-selected values for one or more playback parameters that were usedby the plurality of users to generate transitions between the firstaudio item and other audio items, wherein the transitions includedoverlap between the first audio item and other audio items, and whereinthe user-selected values for the one or more playback parameters werespecified by user inputs from the plurality of users; determining afirst mix rule using the user-selected values for the one or moreplayback parameters received from the client devices for the pluralityof users, the first mix rule relating to determining overlap of thefirst audio item with audio items in respective transitions; making thefirst mix rule available via one or more networks to a plurality ofclient devices; after making the first mix rule available, receiving anindication, from a first client device of the plurality of clientdevices, that the first audio item is to be mixed with a second audioitem at the first client device in accordance with the first mix rule;and in response to the indication, transmitting a specification of thefirst mix rule to the first client device to be applied by the firstclient device to generate a transition between the first audio item andthe second audio item.
 2. The server system of claim 1, whereinreceiving the indication that the first audio item is to be mixed withthe second audio item includes receiving a user selection of the firstmix rule from a list of available mix rules.
 3. The server system ofclaim 1, wherein: the first mix rule is one of a plurality of mix rules;the one or more programs further include instructions for organizing theplurality of mix rules into one or more mix styles; and one of the mixstyles incorporates two or more of the plurality of mix rules.
 4. Theserver system of claim 3, wherein receiving the indication that thefirst audio item is to be mixed with the second audio item includesreceiving a user selection of a mix style of the one or more mix stylesfor the first and second audio items, wherein the selected mix styleincorporates the first mix rule.
 5. The server system of claim 1,wherein the first mix rule specifies predefined values of the one ormore playback parameters.
 6. The server system of claim 1, wherein thesecond audio item is adjacent to the first audio item in a playlistassociated with a user of the first client device.
 7. The server systemof claim 6, wherein the first audio item precedes the second audio itemin the playlist.
 8. The server system of claim 6, wherein the secondaudio item precedes the first audio item in the playlist.
 9. The serversystem of claim 1, wherein the indication that the first audio item isto be mixed with the second audio item in accordance with the first mixrule specifies that an ending of the first audio item is to be mixedwith a beginning of the second audio item.
 10. The server system ofclaim 1, the one or more programs further including instructions for:after making the first mix rule available, receiving, from a secondclient device of the plurality of client devices, an indication that thefirst audio item is to be mixed with the second audio item at the secondclient device in accordance with the first mix rule, wherein the secondclient device is distinct from the first client device; and in responseto the indication that the first audio item is to be mixed with thesecond audio item at the second client device in accordance with thefirst mix rule, transmitting the specification of the first mix rule tothe second client device to be applied by the second client device togenerate a transition between the first audio item and the second audioitem.
 11. The server system of claim 1, wherein: the first mix rule is arespective mix rule of a plurality of mix rules; the first mix rulerelates to determining an overlap of an ending of the first audio itemwith a beginning of a next audio item; and the plurality of mix rulesincludes a second mix rule relating to determining an overlap of abeginning of the first audio item with an ending of a preceding audioitem.
 12. The server system of claim 11, the one or more programsfurther including instructions for: receiving, from a respective clientdevice of the plurality of client devices, an indication that the firstaudio item is to be mixed with a third audio item at the respectiveclient device in accordance with the second mix rule, wherein the thirdaudio item precedes the first audio item in a playlist associated withthe first client device; and transmitting, to the respective clientdevice, a specification of the second mix rule to be applied by therespective client device to generate a transition between the firstaudio item and the third audio item.
 13. The server system of claim 1,wherein the first mix rule is a respective mix rule of a plurality ofmix rules that includes a second mix rule associated with a pair ofaudio items, the second mix rule relating to determining an overlap ofthe pair of audio items; the one or more programs further includinginstructions for: receiving, from a third client device of the pluralityof client devices, an indication that the pair of audio items are to bemixed at the third client device in accordance with the second mix rule;and transmitting, to the third client device, a specification of thesecond mix rule to be applied by the third client device to generate atransition between the pair of audio items.
 14. The server system ofclaim 1, wherein the first mix rule includes an overlap startingposition of the first audio item, indicating a playback time at which tobegin overlapping the first audio item with a following audio item. 15.The server system of claim 14, wherein: the user-selected values for theone or more playback parameters include overlap starting positionvalues; and the overlap starting position of the first audio item is amedian of the overlap starting position values.
 16. The server system ofclaim 14, wherein: the user-selected values for the one or more playbackparameters include overlap starting position values; and the overlapstarting position of the first audio item is a mean of the overlapstarting position values.
 17. The server system of claim 1, wherein thefirst mix rule includes an overlap ending position of the first audioitem, indicating a playback time at which to end overlapping the firstaudio item with a preceding audio item.
 18. The server system of claim1, wherein the first mix rule specifies an effect to be applied to oneor both of the first audio item and another audio item during theoverlap of the first audio item and the other audio item.